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THE MUSEUM of MODERN ART Tl WEST 53 STREET, NEW YORK 19, N

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THE MUSEUM of MODERN ART Tl WEST 53 STREET, NEW YORK 19, N THE MUSEUM OF MODERN ART tl WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE. CIRCLE 5-S900 490624 - FOR WEDNESDAY RELEASE MUSEUM TO SHOW MOST COMPREHENSIVE EXHIBITION OP ITALIAN TWENTIETH-CENTURY ART ^The international importance and scope of Italian 20th-century art <is shown for the first time in this country in a comprehensive exh­ ibition of approximately 250 paintings, sculptures and graphic works by 45 artists to be shown at the Museum of Modern Art, 11 "Jest 53 Street, from June 29 to September 11. Beginning with Ital­ ian artists of the early part of the century who created two import­ ant movements - Futurism (1909-15) and the "Metaphysical" school (1915-21) - the exhibition presents the high points in the develop­ ment of modern art in Italy and concludes with the contemporary postwar resurgence of a new and creative generation. It Includes the work of such internationally well-known artists as DE CHIRICO, MODIGLIANI, BOCCIONI, CARRA, and many new names not known here.j The Museum is publishing a descriptive and well Illustrated catalog of the exhibition. Special emphasis is placed on the younger men whose works in many instances have never before been seen in this country - though their contemporaries in the film field have already, won internation­ al reputations with such remarkable movies as Open City, Shoe Shine, Palsan. The painters and sculptors, too, are producing valid, original art despite the strength and renown of the older generation and despite the Isolationism of the Fascist period in which they grew up. Once the works of such contemporary masters as MORANDI* MARINI and GUTTUSO are better known outside Italy they may well take their place naturally in the stream of contemporary rrestern art. The number, the variety of expression and the quality of the works of art In this exhibition are perhaps indicative, along with other manifestations such as films, of a new renaissance in Italy, Assembling the show; To assemble the exhibition the Museum last year sent two staff members to Italy for several months. James Thrall Soby, Chairman of the Department of Painting and Sculpture, and Alfred H. Barr, Jr., plrector of Museum Collections, were aided in their search for new talent by two large exhibitions, the Quadrlennale in Rome and the giennale In Venice, both revived for the first time since the war. prom these shows they learned of a number of artists previously un­ known to them, despite prior compilation of lists from art books and catalogs that had come out of postwar Italy. Private collections and galleries in the major cities were also rewarding sources, but the museums for the most part were seriously lacking in the best 20th-century Italian pictures. In the work of assembling the art and in the complicated details of arranging long-term loans, packing and shipping, Mr. Soby and Mr. Barr were enormously aided by the good offices and remarkable generosity of Romeo Tonlnelli, a silk design­ er and manufacturer of Milan, who is much interested in modern Italian art. Many collectors in Italy proved to be people of moderate means - some of them professional men and tradesmen->.who had first acquired works in exchange for services or goods and then continued as enthu­ siastic collectors. They displayed in their choice a highly Individ­ ual and personal taste, often collecting as many as 35 to 40 works by a favorite artist* The younger Italian artists charge low prices for their works - perhaps one-fifth as much as in America - and thus sell regularly a good part of what they produce and at the same time make art accessible to interested people even of modest resources. ^'orks were selected on the basis of their intrinsic quality and of their potential interest for the American public. Where quality would not be sacrificed, smaller works were chosen rather than larger because of the high costs of transportation; but there are nevertheless a few very large canvases in the show. Italy|s postwar art world: The difficulties from which the artists emerged after the end of Fascism and German domination have been summarized by one of the outstanding younger artists: "We were all victims...of insecurities and anxiety, of a certain fhermeticism1 - that was the only possible way of protesting. Till 1946 I had. seen nothing of modern painting - no Impressionist, no Cezanne, no Picasso - nothing except in reproduction. This is true of all my generation. They sent us off to war: lnsteadvi,.. problems resolved elsewhere remained unsolved - 3 - >iere» and besides one had to be prudent and not reveal oneself too much." The effect of last year's Venice 3iennale exhibition, where most of the younger Italian artists saw for the first time famous works by modern masters of other nations, cannot yet be truly gaug­ ed. Here Manet, Renoir, Cezanne, Klee, Picasso, Braque, Henry Moore and groups of French, American, Belgian and Austrian works suddenly were presented to a previously isolated art world, most of whose artists had been unable to travel abroad because of the war or, before that, the strict passport and currency regulations of the Fascist regime. Nor did the autarchic policies of Fascism encourage the importation of foreign art during all those years* Nevertheless it should be said that some Italian artists, chiefly of the older generation, were aware of advanced developments in art abroad and of their own accord repudiated these developments. Others of that generation sought refuge from Fascism1s officially approved styles in work of a highly individual character. It is the young who will probably be most affected by the new influx of foreign art in Italy. HISTORICAL AND CHRONOLOGICAL NOTES Futurism: In the rather easy-going, retrospective, peninsular Italy of 1909, Futurism exploded with a bang. Marinetti, a wealthy poet and dramatist, proclaimed its founding with his "Manifesto of Futurism" in which he stated: "We shall sing the love of danger, energy and boldness.... A roaring motor-car, which runs like a machine gun, is more beautiful than the Winged Victory of Samothrace.,,• We wish to glorify War.... We wish to destroy museums, the libraries...we would deliver Italy from its plague of professors, archeologists, tourist guides and antique dealers." Taking their cue from ITari- netti, the five young Futurist painters signed their own proclam­ ation in 1910: BOCCIONI, CARR\, RUSSOLO, BALLA and SEVERINI. Dis­ satisfied with portraying one "snapshot" of motion, they attempted to reveal all the rhythm and movement of a woman walking or a horse rearing. On one canvas they sought to portray something close to a movie sequence while their contemporaries were content to show only one still. They tried to express speed, dynamic energy and, in some paintings the whole complex of external sensations and internal - h- ernotions. Their work was influenced by the French Neo-impressionlsts such as Seurat, and by the Paris cubists whom they tried to surpass. The P'uturists were disturbed by their conviction that "For other countries Italy seems the land of the dead," but stated that "actually Italy is coming alive, and her political rebirth is now followed by her intellectual rebirth." They proposed "to exalt every form of originality even if reckless, even if over-violent.,.. Painters have always shown us figures and objects arranged in front of us. We are rroing to put the spectator at the center of the picture.... We are fighting.•.against the nude in painting which has become as boring and nauseating as adultery in literature." The famous Futurist exhibition held in Paris in 1912 traveled to major cities all over Europe. It was received with conflicting rage and enthusiasm, but always with excitement. A few critics took it seriously, others were condescending or hostile; Modigllani was outraged; Picasso, contemptuous. In the middle of the tour, the Futurists were invited to take part in the New York Armory Show of 1913g but they refused because they wanted separate galleries with a separate box office. In 1915 the Futurists worked furiously to bring Italy into the war on the Allied side and were several times arrested and jailed - once with Mussolini - as agitators for intervention. When Italy finally entered the war Russolo and Boccioni immediately enlisted In the artillery, Marinetti was wounded and twice decorated. Boccioni . was hit and invalided to a base hospital. Yet with all his enthusi­ astic espousal of war, it is ironical that he died from a fall from a horse while he was out riding. Severini, who took no active part in the war, made the best Futurist paintings of the war. When Mari­ netti emerged from the war, he allied himself with his fellow inter­ ventionist Mussolini and gathered around him a band of younger Futurists whose work however seems minor and marginal by comparison with the original group. The Museum1s exhibition is the most important showing of Futur­ ist painting and sculpture since the early days of the movement. It Is held, appropriately, on the IjOth anniversary of the first Futur­ ist Manifesto. - 5 - "Metaphysical" school: While Futurism published a program which its artists followed, the "Metaphysical" school was much less doctrinaire; it was "more a way of seeing than a formal school." Its aim was to portray strange­ ly philosophic and enigmatic images through the projection of common­ place and fantastic objects against unreal, dream-like settings. In 1917i CARLO CARRA, then )b and a veteran of the Futurist campaign, met the 28-year-old inventor of the "Metaphysical" school, GIORGIO DE CHIRICO, while both were stationed in a military hospital at Ferrara. De Chirico, born in Gree.ce of Italian parents, had evolved his highly personal, atmospheric style between 1911 and 1915* dream­ ing of the deserted piazzas of Italy while in self-enforced exile In Paris.
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